Sensory Manifesto. Shanice Lee Kalina Rivadenera Dion Cotterle Architecture Methods 5 Assignment Two
THE PROMENADE THE FOYER THE PRIMARY CHAMBER Symmetry of scene is visually calming and suggests that the most important conent is directly ahead.
Golden haze throughout the scene generates a sense of curiosity and secrecy as well and adds atmosphere.
Circular geometry directs the eye towards this focal point and encourages movement through the leading lines of statues and columns.
Bioshock. Bioshock Infinite explores the idea of subjectivism in which human are dependant on a divine being to determine what is right or wrong and this scene drove our narrative of an initiation sequence where people come to be baptised and offered the opportunity of a new beginning. Through the symmetry of the scene, the immense scale of columns and ornaments is accentuated and draws the focal point towards the centre of the shot, encouraging forward movement down the rectilinear space and into the primary chamber. The haze creates a sense of atmosphere within the space and masks the contents in the distance, generating a sense of curiosity and encouraging exploration of the primary chamber ahead. Further, the density of small candles and reflective textures combine to emphasise the presence of water within the scene. These tangibles have been incorporated into the design of our promenade as we encourage the viewer along their journey towards the main body of water where they will be offered a renewal.
Statues draw the eye upwards in a diagonal manner, suggesting symbolic holy motif where one is moving closer to the heavens throughout the scene..
Immense scale of statues suggests a higher power is present.
Depth of field accentuated by gradual blur towards the foreground. Alternating textures suggests different paths to be taken to get the primary chamber and creates a sense of curiosity towards the adjacent spaces.
Curvature in banners compared to rigid columns adds a realistic weight to the scene.
Change between a warm golden hue to a cold blue hue creates a physical threshold between spaces and suggests a change in motif. Vast space dwarfs the individual making the scene feel unoccupied and unsafe.
Candlelights emphasise the marble texture of the columns, adding weight and photorealism.
White costumes coupled with the presence of water generates a religious motif that involves baptism.
Elicited Tangibles.
More subjects within proximity of eachother in the primary chamber encourages the eye forward towards them.
Golden haze, immense scale, alternating textures, vast spatial qualities, reflective textures, proximity, symmetry, circular geometry, ornamentation, depth of field, atmosphere, light and shadow.
Vast amount of golden candles conveys the visual narrative of a divine presence and following. Reflective texture of the water adds realism to the scene and the reflections create a layer of symmetry.
Repitition of candlelights helps to illuminate the path towards the primary chamber, giving a sense of direction. (Levine, 2013).
Illumination above the foyer encourages a moment of pause in the foyer before moving forward.
THE PROMENADE THE FOYER THE PRIMARY CHAMBER
Neon purple lights illuminate the path beyond the character to reveal openings and also suggest a powerful presence is among the team. Haze shown near the lights reveal small fragments, which emphasize a sense of realism to the environment.
Destiny 2. This scene was essential to our artistic vision for its success in encouraging spatial movement. Particularly, through the repetition of thick columns, textures and illumination to define the circular paths. As a foyer space, the main focal points become the roof and entrance to the primary chamber, which is accentuated by the immense scale that dwarfs the individual and the circular geometry that encourages visual exploration. Another influence this scene had on our artistic vision was constructing photorealism though a subtle haze, light and shadow to ensure textures do not appear as flat, and that their different reflective qualities can be observed and appreciated. Further, as the foyer is immense in scale, the thickness and density of the supported columns have been adjusted to appropriately hold the weight of the structure. We have implemented these techniques within the promenade and foyer to ensure a sense of structural stability as well as creating an atmosphere.
Equal proportions of circular portal and courtyard, representing a form of drawbridge which pulls me forward. Circular geometry alluding to the idea of a portal. The lower ceiling height squeezes the character, creating a physical threshold between rooms.
Rib vaulted arches supporting the ceiling above the courtyard space, creating a sense of weight and realism to the structure. This also combines with the ornamented surface to be a reference to Gothic cathedral design.
Smaller colonnade becoming closer in proximity, directing eye line to next room, giving visual clues to the direction/path taken, making me feel as though I am progressing correctly throughout the mission. Presence of shadows enables the main foyer to be the focal point, creating a direction throughout the scene.
courtyard
destination Change in floor texture suggests a threshold between spaces of different functions.
Green and purple hues generate a sense of enchantment and awe.
Elicited Tangibles.
encouraging movement and creating a sense of direction throughout the gauntlet. Subject is dwarfed by the immense scale and vastness of the surrounding environment, making me feel powerless and vulnerable.
Lighting, equal proportions, circular geometry, colonnade, proximity, texture, green and purple hues, neon, haze, repitition, immense scale, shadows.
(Choi, 2020).
Symmetry of the scene is visually pleasing and highlights the burial units along the promenade. Human proportions with white lifeless texture suggest an evil motif. This coupled with the descending stairs creates an unusual burial scene.
Blade Runner 2049.
THE PROMENADE THE FOYER THE PRIMARY CHAMBER
Contrast between light and shadow generates curiosity and directs the eye upwards and behind the subjects.
Positioning of the repeated burial units forces the eye into the middle of the scene, not allowing for exploration.
The narrative and design of the promenade was heavily inspired by the burial chamber in Blade Runner. This scene was ackowledged previously by all members of our group for its visually pleasing proportions and symmetry and was praised for the scenes underlying stench of disturbance, trepidation and power.
Contrast between blue and golden hues convey the lifeless motif of the burial units. Vast scale of the rectilinear structure presents the idea of power and luxury.
We wanted to create a narrative of rebirth, consequently the promenade served as a space with tombs for members of society who had given up their lives in the past. This scene inspired the use of artefacts which allude to the idea of death, as well as repetition, warm lighting, symmetry and a rectilinear geometry to portray the initial space as a holy burial site where you must first confront the flaws of your past self and the concept of death, preparing the participant for their journey into a new life. Instead of descending further into the darkness of the narrative, we have reversed this, with the paths ascending towards a final reveal with more natural light and openings as the narrative gets more optimistic.
No visible openings to the scene makes me feel agitated and trapped within the burial site, forcing me to explore the contents.
Unusual golden hue suggests a context which is far from our current context on Earth, suggesting a scene in the future
High saturated white on main subject suggests particular importance and draws the eye towards them.
Elicited Tangibles. Proportions, texture, repitition, symmetry, contrast, light and shadow, blue and golden hues, high saturation, rectilinear geometry, golden lighting.
Repeated stairs and placement of subjects encourages a descending path of movement.
Golden light accentuates the rigid geometry and smooth rammed earth texture, suggesting a man-made structure.
Rectilinear geometry enhanced the geometry of the scene and draws the eye comfortably towards the main subjects. (Vileneuve, 2017).
THE PROMENADE THE FOYER THE PRIMARY CHAMBER
Immense scale, portraying grandiosity of Fascist party.
The Conformist. This scene from the Conformist was chosen for the compositions ability to pull the viewers eye forward and encourage linear spatial movement down a ‘promenade’. This was achieved in the scene through leading lines of repeated columns, intense lighting and a high contrast between dense and reflective textures. This technique created a composition where a path is clearly visible, and suggests that any other way of movement is taboo. This can be seen in our promenade as repeated thick columns and waterbeds encourage the viewer to stay within these boundaries.
Repetition of structural columns provides a sense of stability and weight. Symmetry of composition visually surrounds the viewer, making me feel trapped within the vast space.
Gold ornamentation suggesting luxury and hierarchy.
The Conformist was also successful in drawing life out of the shots, demonstrating a sense of conformity and isolation. This has been achieved through not only the central path, but through the immense scale of the structures, where only a few individuals are shown to occupy the space. Coupled with a neutral colour palette of stone and marble, the composition appears to be eerily quiet and bleak. This was essential to our narrative as we wanted to created an environment where one can reflect either alone or in small groups on the concept of rebirth.
Perched eagle clutching, alluding to symbol on Italian Fascist Uniforms and giving context.
Closed aperture allowing deep focus on details ahead.
Subject framed in centre of the vast, looming environment which engulfs them.
Previous intimate moment put into perspective by wide-shot, showing the bigger picture, alluding to narrative of conformity.
Washed out, neutral colours expressing Fascist Architecture.
Elicited Tangibles. Immense scale, repitition, symmetry of composition, ornamentation, symbolism, depth of field, neutral colour scheme, shadows, texture, vast space, wide camera angle, leading lines, rectilinear geometry, lighting, reflective textures.
Shadows created by barred windows and thick columns create a sense of imprisonment within the space. Reference to Plato’s Cave.
Marble textures creating a sense of wealth and luxury.
Leading lines along structural columns and carpet towards vanishing point of Fascist symbol suggesting my own conformity. Rectilinear geometry of space makes me feel at ease and allows me to conform to the spatial quality of the room.
Light source allowing thick columns to cast shadows, creating a series of steps which pulls me forward.
Emptiness of vast space suggests high level of acoustic sound. carpet. This suggests a controlled path of movement.
(Bertolucci, 1970).
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Vast scale of the planeterium dwarfs the main subjects, creating a sense of awe and encouraging exploration.
La La Land. La La Land was quintessential in the design of our main foyer. The scene is successful in creating a moment of pause to look upwards and explore the beauty of space. This is achieved through a curvilinear geometry with no specific focal point, immense scale of the planetarium, and visual cues to encourage viewing upwards, such as the angle of the telescope and surrounding chairs. This technique was implementing into our own foyer and suited our narrative of reflection and new beginnings. For example, as we move from the promenade into the main foyer, the roof and boundaries of thick columns are no longer visible and the central line of sight is interrupted, relieving the viewer from the controlled path of movement. Curvilinear geometries have been found to be significantly successful in the scenes to encourage exploration, so to encourage the viewer to look around and upwards, we utilised a steep curved gradient to facilitate this action. During the day, an immense shadow is casted on the hemisphere and as the haze becomes more visible, this is encouraging for the viewer to feel as if they are one with the external environment.
High ISO used to enhance camera lens sensitivity to light. Allows foreground to be formed by vibrant and rich hues of blue
Blue hue conveys a feeling of tranquility and calmness in this scene. It also gives context to the time of day.
Curvilinear geometry does not define a path of movement encouraging a moment to pause and explore the contents above.
Elicited Tangibles.
Blue and purple hues suggest a fantasy-driven envrionment which is beyond the context of everyday life.
Angle of telescope encourages viewing upwards into the sky, rather than around the scene.
Small repeated lights draw the viewer back to Earth, realising they are within an interior space.
Chiarascuro used to juxtapose light and dark, emphasising the blue as the foreground.
High ISO, curvilinear geometry, chiarascuro, contrast between golden and blue hue, vast space, repitition, immense scale, blue and purple hue, ornamentation, artifical lighting.
Lighting on chair accentuates the upwards angle of viewing explored in this planeterium space.
Contrast between golden hue and blue hue again divide the two spaces with different motifs. Unattended spaces present a motif of trespassing and curiousity to explore. Artifical lighting helps to accentuate the path of movement around the chairs and throughout the space.
(Chazelle, 2016).
THE PROMENADE THE FOYER THE PRIMARY CHAMBER
Midsommar. Midsommar’s narrative is deeply based on the concept of indoctrination. The narrative welcomes the viewer into a seemingly comfortable envrionment, only to realise later on the terrifying cult-like situation. In the composition, we see a number of figures in gowns preparing themselves before a yellow geometric structure. Tangibles such as symmetry, vignette, wide camera shot, deep contrast, proximity and leading lines help to draw the eye towards the centre of the structure and allude to this idea of conformity and indoctrination. The tangibles of symmetry and leading lines can be seen throughout the composition of our own three spaces as we aim to achieve a fluid movement between them. One feature of this composition that we have used are the thresholds between the visible ‘foyer’ and ‘primary chamber’, where the foyer is more of an open space to gather and prepare for their initiation in the background structure. In this scene from Midsommar, when the doors of the yellow structure open up, participants are encoouraged towards it, and then are swallowed up by the scale of the structure, and with its deep contrast to the surrounding environment, suggests they will return a different entity.
Symmetry of the scene is calming and encourages viewing the central focal point.
Presence of white gowns which contrast against the green landscape suggest a cult-like motif. This is more subtle as it is set during the day however creates an eerie shot.
Neutral hue emphasises the false sense of normaility within the scene and allows the yellow strucutre to contrast. Deep contrast of yellow structure alienates itself from the surrounding context which makes the viewer feel uncomfortable and under control.
Triangular geometry pierces through the rough landscape which further helps to distinguish the primary chamber. Deep contrast between green landscape and yellow structure draws the eyes towrds the centre.
Small dark shadow generates curiosity and suggests that the view is being watched from the inside of the structure.
Wide-shot captures the symmetry of the scene and the leading lines of blue tarp direct the eye towards the centre focal point.
Elicited Tangibles. Contrast, depth of field, repitition, vignette, ornamentation, triangular geometry, symmetry, wide camera angle, shadow, neutral hues and proximity. Depth of field created through repitition of tarp, conveying the immense open field.
Vignette around the edges of the scene directs the viewers eye towards to centre focal point.
Swedish ornamentation gives context to the scene and masks the dark reality of the subjects alterior motifs.
Proximity of subjects suggest a congregation space, which divides itself from the promenade and primary chamber further in the shot. In this space you are allowed to visually explore however this becomes restricted in the chamber.
(Aster, 2019).
THE PROMENADE THE FOYER THE PRIMARY CHAMBER
Westworld. The Delos headquarters in the TV series Westworld was influential in our location and design of the foyer and primary chamber. The powerful companies HQ is set in a deserted canyon with the structure itself in embedded into the rocky landscape. Our narrative is set on Mars in 2062 where the planet itself is beginning to be terraformed, and similarly to Westworld, our vision was to have the landscape influence the overall form and openings. In the main foyer and primary chamber, we have utilised a curvilinear geometry which encourages exploration of the foyer and provides extensive views out to the vast landscape in the primary chamber. Further, we have implemented repetition of structural joists and small openings in the primary chamber to encourage curioisty and provide direction towards the final reveal, we believe that the repetition is successful in building suspense. Lastly, as we move from the promenade and towards the final space, the textures transition from the rough rugged rocks of the landscape to smooth clay and clean water to demonstrate the theme of purity in the primary chamber.
Circular geometry referring to loop narrative of Westworld. Equal proportions of table and roof geometry is visually calming and adds stability to the shot. Low camera angle portrays the immense scale of the roof as we percieve it from a few steps down. Lack of openings makes the viewer feel uncomfortable and claustrophobic, directing their view up and through the grates of the roof,
Repetition of roof joists and their density adds a sense of realistic weight to the structure.
Circular lighting helps to define the boundarys of the space and encourages the viewer to examine the symmetry.
Bleak, saturated colours suggest artificial environment.
Smooth texture of floor contrasts with the reflective texture of the wall and helps to define the vast spatial qualities.
Reflective texture of the wall adds a sense of realism as the light reflects off of it.
Elicited Tangibles. Low camera angle, circular geometry, reflective texture, positioning of assets, bleak texture, equal proportions, repetition and density.
Curvilinear geometry encourages exploration throughout the wide-shot with no direct focal point. Internal cloister encourages movement around and towards the panoramic walls.
Minimalistic texture with lack of grain suggets a sterile and controlled envrionment.
(Joy, 2018).
THE PROMENADE THE FOYER THE PRIMARY CHAMBER
its weight.
The Incredibles. The secret lava room in the Incredibles influenced the design of our landscape and three spaces. For example, the location is similar to Westworld, where the program is embedded into the rocky landscape and utilises its natural textures, immense scale and colour palette. This scene is successful in constructing realism by adding haze to the dark shadows so that we can feel the warmth of the space. We have utilised this technique throughout the structure, particularly in the small gaps in the foyer and near the corners and waterbeds in surrounding spaces, adding a greater sense of atmosphere. The orange lighting also accentuates the earthy textures, giving context and creating a sense of warmth, blurring the surrounding contents of the scene, which in turn creates a sense of curiosity and privacy. We have utilised this technique with the warm lighting along the promenade to build a sense of curiosity and intrigue, encouraging spatial movement. Further the symmetry of the scene helps establish the impact of the panoramic wall, which is a feature in our final reveal.
lack of artifical lighting allows lava texture to be accentuated and create a dramatic illumination.
Haze from lava glow adds a sense of realism and warmth to the scene. Panoramic wall creates the main point of view in the primary chamber, after the narrow promenade and foyer.
Lava texture and golden glow adds warmth to the surrounding environment, which makes me feel cozy.
Flowing movement of lava wall is visually pleasing and puts me at ease. It also moves slower than water, adding a realistic weight.
Wide-shot captures the immense scale of the curtain wall. With no particular vanishing point, I am encouraged to appreciate the environment as a whole and recognise the immensity.
Proportions of character compared to the large curtain wall makes me feel small and powerless.
Symmetry of furniture, subjects and columns makes me feel at ease viewing the scene.
Elicited Tangibles. Haze, movement,. wide camera angle, proportions, contrast, scale, shadows, textures, materiality, natural lighting, orange hue, geometry, low density, symmetry, consistent colour palette. Strong contrast between warm background and dark foreground alludes to the narrative of a secret interaction, creating a sense of curiosity.
Low density of furniture and props refers to the minimalist design.
Upscale size of the room and furniture provides a sense of luxury.
also combine to suggest an evil motif.
Ambitious geometric forms of furniture relating to mid-century modernist design. These forms are present in the spaces belonging to characters with greater hierarchy and suggest luxury. (Bird, 2004).
THE PROMENADE THE FOYER THE PRIMARY CHAMBER
Thickness and proximity of large columns articulating the building adds a realistic weight to the temple, making me feel light within the space.
Raya and the Last Dragon. Raya and the Last Dragon has been selected for its intense sense of atmosphere and suspense. For example, the use of grain, haze and movement of the lightweight banners contribute to making the scene feel more realistic. The haze in particular reveals the dust falling from the ceiling of the structure which creates a sense of urgency. This was developed into our own promenade over the waterbeds to make the participant feel uncomfortable and unwelcome in the burial site, as if something or someone will grab them. The haze is also accentuated through the intense shadows and warm lights. Further, the layout of the scene has been incorporated into our own artistic vision. For example, hierarchy between the two spaces is established through leading lines, low camera angle, and density of columns. We have utilised these techniques to help the participant travel throughout our composition towards the final reveal on a raised viewing platform.
Density of columns creates a sense of distance between the subjects, creating a suspenseful series of steps which need to be taken to reach the climax of the plot.
Limited cream colour palette and golden accents enhances the ability of hazy light and dust to be seen and establish atmosphere. Camera positioned at eye level highlights the immense scale of the temple, making me feel small.
Blur of central subject, draws focus to character in foreground and their suspenseful movements forward.
Leading lines from colonnade and path towards a central vanishing point.
Movement of lightweight banners add realism and suggests a comfortable ventilation throughout the temple.
Heavy shadows in the background allows a hazy and atmospheric light to be
Each level decreases in scale, positioning the subject at the summit. This creates a sense of hierarchy between subjects.
Intense light source from the right of screen highlights golden accents and allows colonnade to cast shadows, creating depth of field and illuminates my path.
Rich, gold ornamentation and stacked geometry referencing Thailand’s temple architecture, creating a sense of luxury. Grain creates a sense of atmosphere within the temple, suggesting spiritual presence or structural instability. It has picked up the light source.
Elicited Tangibles. Proximity, density, blur, leading lines, movement, haze, atmosphere, grain, shadow, textures, limited colour palette, camera position, lighting, diminishing scale, intense light source, ornamentation.
(Hall, 2021).
THE PROMENADE THE FOYER THE PRIMARY CHAMBER
Shadow of the Tomb Raider. The design of the tombs in Shadow of the Tomb Raider influenced the design of our entrance and burial promenade. The game is highly successful in constructing intriguing and confronting compositions. For example, the landscape is highly detailed with multiple layers of textures, heights and assets to show the wear and tear of the tombs. The fog and grain present in the scene also help to fill the negative space of the landscape, making the main path of movement visible. In our first space, we have utilised multiple layers of hexagons, differing textures and fog to construct a similar vision of a hidden and rugged burial site that is embedded into the landscape. Further, another layer of ornaments such as skulls are present to suggest the narrative of death and is positioned directly in the line of sight of the viewer, providing a confronting experience. Upon entrance to our composition, we have placed more personal burial artefacts to provide visual cues of the narrative of death within the promenande. Further, the large openings which are found about the subject also influenced the design of our foyer, where the rugged landscape can be observed from within the foyer, which creates a dramatic height difference that dwarfs the individual and provides a moment of relief after traversing the confronting promenade.
Grain added to create a sense of realism and urgency to move forward through the space as it is decaying.
Lighting positioned towards an artefact of certain importance, drawing the eye towards it.
Red accents contrast against the dark foreground and highlight the main landing for the participant.
Density of chaotic ornaments makes me feel confronted upon entry to this space. Fog surrounding the staircase exaggerates the distance and immense scale of the scene.
Elicited Tangibles. Grain, lighting, bleak colour scheme, fog, haze, rough textures, vignette, wide camera angle, density and ornamentation.
Wide camera angle captures the immense scale of the scene and accentuates the middle platform as the main focal point. Rough texture accentuates the erosion of the tomb and creates a sense of realism.
Vignette directs the eye towards the central focal point which is in much greater detail.
Bleak colour palette portrays the lifeless characteristics of the scene, making the viewer feel alone and isolated.
Density of ornaments adds a significant amount of context to the scene.
(Raiding the Globe, 2021).
THE PROMENADE THE FOYER THE PRIMARY CHAMBER
Rectilinear geometry of scene encourages forwards movement, rather than exploration outside of these boundaries.
Vignette around the shot directs the eye towards the middle subject.
Trap of Sobek. The concept art for the Trap of Sobek has further inspired the design of our promenade and foyer. Similar to many other chosen scenes, symmetry, rectilinear geometry, leading lines of repeated columns, and proximity help to draw the viewers eye towards the centre of the shot, to the subject/object of importance. The harmony of the visual composition is also achieved through the equal proportions of the roof structure to the central path, where the perspective lines all contribute equally to the centre focal point. Further, the scene feature rugged stone textures which contrast against the reflective nature of water as well as the greenery on the surface. This layering to the scene helps to create realism, and defines certain paths of movement within the tomb space. In our promenade, we have inverted the positioning of water to be on the boundaries, to ensure movement is kept directly towards the foyer space, however the green texture helps to hint at the presence of water and life within the scene. Further, the lack of openings on either side contributes to constructing a claustrophobic scene, maintaining focus ahead.
Intense lighting above the subject emphasises their importance and suggests a divine presence. Limited colour palette ensures visual harmony and conveys the theme strongly.
Repetition of columns creates leading lines and directs my eye towards the middle subject, recognising their importance.
Lack of openings and symmetry of the scene traps the viewer within the tomb and is claustrophobic, wanting to progress forwards.
Proximity of columns adds a realistic sense of weight to the roof.
Golden ornamentation accentuated by the lighting, emphasising the idea of luxury and power.
Elicited Tangibles. Repetition, density, symmetry, focal point, reflective and opaque textures, haze, ornamentation, limited colour palette, contrast, vignette, leading lines, rectilinear geometry, scale, lighting and proximity.
Golden haze which appears through the roof creates atmosphere, making the viewer feel warm and gives context to the time of day. Grainy texture of paths adds realistic erosion to the scene, making it believable as a burial space. Reflective texture of the water directs the eye along the path and upwards towards the main subject.
Symmetry of the scene is visually calming and encourages the eye to move along the colonade. Low camera angle emphasises the large scale of main subject and confronts the viewer.
(Dominesko, 2017).
Architectural Precedents and Narrative.
After examining our visual narrative through films and game designs, we have looked at architectural precedents which helped conceptualize and envision our narrative in the three spaces: the promenade, the foyer and the primary chamber.
Jewish Memorial, Paris
DGT Architects, Light in Water.
Jean Nouvel, AlUla Desert Cave Resort.
1. The Promenade
2. The Foyer
3. The Primary Chamber
The initial space you enter is the promenade. This space is intended to be confronting, as to be cleansed of a past life, you must confront the sins that were committed during your time on Earth. Upon entrance we have the artefact's of those who have walked the same steps as you. As you enter the main promenade, the rectilinear form draws your eye forwards and the walls appear to be closing in on you. The lack of natural light, fog and erosion to the landscape hints a lifeless burial space. We suggest you get a move on.
Passing through the small opening that once felt so distant reveals a foyer open to the sky. This open air dome is delicately carved out from the existing landscape. During the day, natural light floods into the space and accentuates the rocky landscape, you are welcome to look around, meet fellow martians, and prepare yourself for your new life on planet Dawn. Its finally your turn, and you make your way through another threshold of spiralling stair cases, you can catch a glimpse of the initiation process and you are encouraged to take a path, the curvilinear geometry and columns lead the way.
You reach the primary chamber which is filled with water, candles and smoke. All of which combine to create an ethereal atmosphere to complement this significant milestone in your life. The circular geometry and reflective textures of the room create an intimate experience as you take your place on one of the podiums and other members eagerly gather to watch. As you leave the baptismal procession, you are invited to enter the viewing platform which has been sculpted out of the rock face. Joining other members on the deck, you stand in solidarity, observing the world which you can now call your own. Congratulations on making it and welcome to future life on Dawn.
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Process Work
1. Entering the landscape
2. Entering the promenade
3. Walking down the promenade
4. Exploring the foyer
5. Waiting in the primary chamber
2. Exploring a new world
This section features an early concept sketch of the three significant spaces operating with eachother. It focused on the contrast between the rugged landscape and delicately carved out surfaces, influencing moments of pause, curiousity, exploration, and movement towards a grand reveal. In assignment two, we had managed to construct the basic forms with some level of detail, however, there was much room for improving the experience of immersion, realism and the surrounding landscape.
Early Process Sketch - Long section showing the three spaces
1 Landscape Precedents
Based on the feedback from assignment two, it was important to develop the landscape further, ensuring the approach towards and from the composition was consistent with the experience of the internal programme. Thus, we researched the TV series ‘Dark’ and concept art from Destiny 2, as these scenes aligned with our Sensory Manifesto and later ambitions of the narrative.
1. The Portal - Dark on Netflix The set design of the ‘time travelling’ cave in Dark was influential in the addtions we made to the landscape and entrance. By utilising a vast amount of rock assets on either side of the entrance, we were able to draw the viewer into the tight threshold that leads to the main promenande, making this transition smoother. The concept of the cave sparked the addition of a portal, which would appear embedded seamlessly into the landscape and generate a sense of curiosity about what is to come. The world on the other side of the portal apppears to be similar, however the presence of the city is made known through a logo and small robotic assests.
2. Dawn Landscape - Destiny 2 Early Mars Exploration - Dorje Bellbrook The previous sand landscape was repetitive and did not complement a smooth transition from landscape to interal programme, thus we explored Destiny 2’s concept art for a scene of ‘early Mars exploration’. We visioned that from the outside of the caves, the world would show subtle signs of growth, yet remain harmonious with the landscape. This was achieved through geometric elements with metallic textures (logo and robots), as well as the glass portal embedded into the rock face.
3. The City - Destiny 2 Dreaming City - Jake Theriault For the final reveal, we wanted to express the theme of growth and prosperity to the viewer after they have endured the confonting and intense cleansing processions. As a result, we introduced a large-scale city and metallic textures which would contrast with the natural landscape. Further, the presence of the interactive elements (drones/UFO’s) contribute to the idea of the newly formed and progressive civilisation.
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INITIATION AT DAWN. The rise of artifical intelligence, the ignorance of climate change, and lethal pandemics. At the end of the day, humans are a truly powerless species. When we consider our immediate future in 2060, all the signs are leaning towards a future life on Mars. However, if the human civilisation is to be given this chance, we must reflect and understand where we went wrong, stripping ourselves of the very thoughts and actions that led us to this point of no return. That begins with the sacred initiation experience at Dawn, a newly formed city embedded into the rugged landscape of Mars, created by our very own ArchViz team.
Thank you to Chris Mewburn for your commitment to this unit and to Cameron and Camilo for your guidance throughout the model pathway, Kalina Rivadenera, Shanice Lee, and Dion Cotterle.